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UNIVERSITY    Of    CALIFORNIA 

SYLLABUS     SCRICS 

MO     57 


I  HI:    SHORT-STORY 

MODI 


SI  I  I  \»US  AND  BIBLIOGK  \l'»n 


VALTft  MORttIS   MAHT 


UNIVERSITY  OF  CALIFORNIA 
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4.  Economics   18-19.     Poverty,   and  Modern   Constructive  Philan- 

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6.  Economics  43.     History  of  Social  Reform  Movements.     Topics. 

an,d  References.     1907.     Price,  50  cents. 
,  7.  English  1a.    Sections  I-II.    Narration  and  Description.    Outline 

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(Continued  on  third  page  of  cover) 


UNIVERSITY    Of    CALIFORNIA 

SYLLABUS    SCRICS 

NO     67 


INI     SHORT- STORY 

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■ 


The  Short-Story 


PAET  I 
THE  PRIMITIVE  AND  MEDIEVAL  SHORT-STORY 

I  and  II.  THE  SHOKT-STORY  DEFINED 

I.  Any   narrative   may    be    summed    up   as    follows:    At   certain    times,   in 

certain  places,  surrounded  by  a  certain  society,  certain  persons, 
moved  by  certain  motives,  do  certain  things,  thereby  illustrating 
certain  moral  laws.  The  Elements  of  Narration  are,  therefore, 
the  Settings  of  Time,  of  Place,  and  of  Society,  Character,  Motive, 
Plot,  and  Moral. 

II.  The  Short-Story  is  distinguished  from  other  forms  of  narrative  by  its 

special  treatment  of  these  seven  elements. 

(1)  Because  it  is  Short  it  requires  brevity  of  the  Time  of  action,  unity 

and  circumscription  of  the  Place  and  of  the  Social  Group,  few- 
ness and  simplicity  of  Characters  and  of  Motives,  a  Plot  con- 
sisting preferably  of  a  single  episode,  and  an  underlying  Mural. 
simple  and  easily  grasped. 

(2)  Because  it  is  Story  it  requires  that  all  information   in   regard  to 

Time,  Place,  Society,  Character,  Motive,  and  Moral  Significance, 
be  translated  into  pure  narrative — into  the  words  and  actions 
of  the  persons,  and  that  the  Plot  be  free  from  summaries,  rich 
in  dialogue  and  incident,  organized  in  scenes  or  situations. 

(3)  Of  these  seven  elements  each  may  modify  and  serve  all  the  others, 

and  all  will  be,  in  some  degree,  represented. 

(For  The  Paupers,  by  A.  T.  Quiller-Coueh,  a  typical  Short-Story,  see 
his  volume  of  stories  called  The  Delectable  Duchy,  or  Warner's  Library 
of  the  World's  Best  Literature,  vol.  20.) 


2  The  Short-Story 

III.   PEIlttTIVE  TYPES 
1.  The  Popular  Bai.i.ad 

I.  The  Ballad  as  Point  of  Departure. 

Though  relatively  modern,  the  Ballad  inherits  and  represents  the 
manner  of  Primitive  Narrative.  It  contains  the  Germ  of  the  Short- 
Story. 

I I.  The  Ballad  of  Situation. 

The  Germ  of  the  Short-Story  is«the  -  at  situation,  as  found  in 

such  a  ballad  as  Edward,  set  forth  with  such  suspense  and  cdimax 
as  result  from  the  ballad  conventions  of  refrain,  incremental 
repetition,  question  and  answer,  "climax  of  relatives,"  and 
satirical  testament.  The  Ballad  of  Situation  is  thus  a  mere  plot- 
embryo,  it  does  not  deal  with  any  of  the  other  elements  of  narration. 

IN.  The  Development  by  Less  Primitive  Ballads  of  These  Other  Elements. 

(1)  Settings,  Character,  and  Plot,  as  in  Sir  Patrick  Spens. 

(2)  Treatment    of    the    Supernatural:    Cleric    Colven    contrasted    with 

Keats 's  Ln  Belle  Dame  Sans  Men 

(3)  Economy  of  the  Comic  Plot  as  iri  Quet  '.s  Confession. 

(For  the  ballads  discussed  see  F.  J.  Child,  English  and  Scottish  Popular 
Ballads,  numbers  13b,  58a,  42,  and  156.) 


/>* 


:?  Tin  Short-Story 

IV.  PRIMITIVE  TYPES 
2.  THE  Folktale 

I.  The  Primitive  Nature  of  the  Folktale  shown  by  its  Content,  as  that  of 

the  Ballad  is  shown  by  its  Form.  The  peculiar  ideas,  customs,  and 
beliefs,  which  underlie  the  European  Folktale,  are  to  be  found 
among  aa  well. 

II.  The  Miiiclien  or  Serious   Folktale  (or  Fairy  Tale). 

Deals  with  the  Supernatural  and  reckons  upon  unquestioning  belief. 
It  is  characterized  by  vagueness  and  largeness  of  Settings  and 
looseness  of  Plot.     (Litth   Snow  White.)  ;»7  -a,  : 

III.  The  Legend  or  Pious  Folktale. 

A  pious  parody  of  the  Marchen,  in  which  Christ,  Our  Lady,  the  Saints, 
and  the  Devil,  take  the  place  of  the  Fairies.  {Thj  Three  Litth 
Men  in  tin   Wood  and  St.  Joseph  in  the  Forest.)  ,_  ^ 

IV.  The  Schwank  or  Comic  Folktale. 

Aims  to  produce  a  comic  effect;  hence  all  is  "calculated,"  notably, 
the  Plot,  which  is  organized  with  special  care. 

For  the  Folktales  discussed  see  Grimm,  K ind  r-  und  Hausmarchen  (or 
Household  Tales,  Bohr  ed.)  numbers  53,  13,  61,  and  Legend  no.  1.) 


. 


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4  Tin   Short -Sfury 

Y.   MEDIEVAL  TYPES 

1.  The  Lai 

A    thirteenth-centurj    French   elaboration   of  a   Welsh   or   Breton   Lai, 
i  upon  Celtic  Marches.     Mainly  by  Marie  de  France. 

I.  T volet. 

A  typical  Lai;  retains  Marchen  characteristics,  especially  the  looseness 
of  slim-tine  which  lends  itself  to  development  as  long  romance. 

I I.  Lanval. 

(1)  Supernatural  Features  (a)  Preserved  and  (b)  Faded.     (The  other 

world  in  the  Lai  of  Guingamor.)     A  new  method  of  treating  the 
Supernatural. 

(2)  Structure,      (a)   Becomes  in  an  English   version   a   long  romance. 

(b)   Employs  the  ballad  method  of  Suspense. 

(3)  The  Love  Motive, — in  Lanval,  in  Guingamor;  the  "psychological" 

method:  Marie's  innovation,  a  combination  of  Celtic  and  Courtly 
Love. 

(4)  .Mystery  and  Beauty. 

(For  Modern  French  versions  see  Bocquefcrt's  edition  of  Marie  de 
Prance.  English  translations:  for  Tyolet  see  Weston,  Four  Lays  of  Marie 
de  France;  for  Lanval  (or  Launfal)  see  Weston,  Four  Lays,  or  Mason, 
French  Mediaeval  Romances.  For  a  Modern  German  version  see  Hertz, 
/>.<-  iSyLLliuannsbuch.  For  Guingamor,  see  Weston  or  Hertz.  For  Guigemar 
(or  GugeHnSr)  see  Mason,  French  Mediaeval  Romances.) 


5  The  Short-Story 

VL  MEDIEVAL  TYPES 
1.  The  Lai  (continued).    The  Lai  and  Popular  Literature 

I.  The  Ballad  of  Fair  Annie  and  Lai  le  Fraisne  (or,  The  Jsh).     The  gain 

in  fulness  and  continuity  of  action,  in  completeness  of  elaboration, 
in  the  conception  of  romantic  love;  the  loss  in  unity;  the  fabliau 
element. 

II.  The   Gaelic   Marchen   of   Gold-tree  and  Silver-tree   compared   with   the 

German  Little  Snow  White  and  with  the  lai  of  Eliduc.  Enrichment 
of  the  plot  by  additional  adventures,  which  makes  for  long  romance. 
(Further  accretion:  the  romance  of  Ille  et  Galeron.)  Elaboration 
of  Place,  Character,  and,  especially,  of  the  Love  Motive.  Fading 
of  the  Supernatural.    Softening  and  moralizing  of  the  conclusiou. 

III.  By  its  elaboration  of  the  Elements  of  Narration  the  Lai  contributes 

to  the  development  of  the  Short-Story,  but  its  main  tendency  is 
in  the  direction  of  the  Long  Romance  and  of  the  Novel. 

(For  the  Ballad  of  Fair  Annie  see  Child,  no.  62.  For  Gold-tree  and 
Silver-tree  see  Jacobs,  Celtic  Fairy  Tales.  For  the  Lai  le  Fraisne  (or  Lai 
of  the  Ash,  or  Ash-tree),  and  for  Eliduc,  see  Edith  Rickert's  Seven  Lays 
of  Marie  de  France,  or  Mason's  French  Mediaeval  Bomances,  or  Hertz's 
Spielmannsbuch.) 


6  The  Short-Story 

YIT.  MEDIEVAL  TYPES 

2.  The  Coxte  Devot 

A  thirteenth-century,  French  elaboration  of  the  Legend  and  a  Pious 
Parody  of  the  Lai,  based  on  brief  Latin  originals,  and  written  to 
edify  and  to  instruct. 

I.  Miracles  of  Our  Lady. — The  Medieval  conception  of  the  Virgin. 

(1)  Stories  of  Our  Lady  as  Substitute  (a)    The  Jousting  of  Our  Lady 

and  (b)  The  Sacristine. 

(2)  The  Tumbler  of  Our  Lady. 

Significant  for  treatment  of  Moral,  Character,  and  Mental  States. 

(3)  Our  Lady's  Bridegrooms:    (a)   A  Knight  to  Whom  Our  Lady  Ap- 

peared Whilst  He  Prayed  and  (b)  The  Cleric  and  the  Ring. 

IT.  The  Conte  Devot,  at  its  best,  significant  for  all-around  elaboration, 
for  a  certain  verisimilitude  and  moral  depth,  for  a  certain  com- 
plexity and  charm  of  character,  and  for  some  relatively  careful 
study  of  mental  states  and  social  settings. 

(For  The  Knight  of  the  Little  Cask  see  Butler,  Tales  from  the  Old 
French,  or  Hertz,  Spiclmannsbuch,  p.  218.  For  The  Angel  and  the  Hermit 
see  Butler.  For  The  Jousting  of  Our  Lady  see  Butler,  or  Mason,  Aucassin 
and  Nicolette,  etc.,  p.  195.  For  the  story  of  the  Sacristine  see  Maeter- 
linck's Sisti  r  lit  at  rice,  or,  in  Modern  French,  Nodier's  story  in  Contes  de 
la  Veillcc,  p.  75.  (Cf.  also  John  Davidson's  Ballad  of  a  Nun.)  For  The 
Tumbler  of  Our  Lady  see  Mason,  AuGassi  ana  Nicolette,  or  Edwin  Mark- 
ham's  Juggler  of  Touraine,  Century  Magazine,  vol.  75,  or  Anatole  France's 
Etui  de  Nacre  (or  Mother  of  Pearl),  or  Hertz,  Spiclmannsbuch,  p.  237.) 


7  The  Short-Story 

VIII.  MEDIEVAL  TYPES 

:;.  The  Fabliau 

A  thirteenth-century,  French  elaboration  of  Ballad  or  Schwank  and 
parody  of  Lai  and  Conte  Devot.  Its  authors.  Its  technique  con- 
trolled by  comic  purpose  and  oral  presentation. 

I.  Fabliau  and  Comic  Ballad. 

I'Ik    Knight   Who  Confessed  His  Wife  and  Queen  Eleanor's  Confession. 

The  fabliau  preserves  the  ballad  supremacy  of  a  main  situation. 

II.  Fabliau  and   Schwank. 

The  Poor  Cleric  and  The  Little  Peasant.    The  former  as  a  typical  fabliau. 

III.  Fabliau  as  Parody  of  Conte  Devot. 

St.  Peter  anil  tin    Minstrel:   its  dramatic  quality. 

IV.  The  Fabliau   approximates   Short-Story    and    Drama    and    gives    place 

to  Farce. 

(The  fabliaux  discussed  are  not  accessible  in  Modern  English  versions, 
except  St.  Peter  and  tht  Minstrel:  see  the  translation  by  E.  S.  Sheldon  in 
Studies  in  the  History  of  Religions,  presented  to  C  II.  Toy.  See  also  Hart, 
Tin  Narrativi  Art  of  the  Old  French  Fabliaux,  in  the  Kittredge  Anniversary 
Papers  and  in  separate  reprints.) 


8  Tin  Short-Story 

IX.  MEDIEVAL  TYPES 
4.    TlIK    EXEMPLTJM 

I.  Medieval  Symbolism  and  Allegory. 

II.  The  Exemplum  or  Illustrative  Story. 

III.  The  Exemplum  in  English   Literature. 

(1)  In  Old   English:  Boethius,  Orpheus  and  Eurydiee. 

(2)  In  England  in  the  Thirteenth  Century. 

(a)  Latin:  The  Gesta  Bomanorum. 

(b)  English:  In  the  Sermons  of  the  Friars  and  in  Instruction  Books. 

1  V.  The  Significance  of  the  Exemplum  as  a  Factor  in  the  Development 

I  of  the  Short-Story:  it  showed  that  any  plot  might  be  used  to  illus- 
trate moral  laws;  and  it  set  the  fashion  of  collecting  and  preserv- 
ing brief  tales,  thus  developing  the  story  sense,  and  stamping  brief 
fiction  with  learned  and  ecclesiastical  approval. 

(For  OrpJn  us  and  Eurydict  see  Boethius,  The  Consolation  of  Philosophy, 
Bohn  ed.,  p.  H>7.  For  typical  Exempla  see  the  Middle  English  version  of 
Gesta  Bomanorum,  nos.  32,  40,  66,  69;  Latin  version,  Bohn  ed.,  no.  33. 
For  Pers  the  Usurer  see  Robert  of  Brunne,  Eandlyng  Synne,  verses  573  ff.) 


9  The  Short-Story 

X.  MEDIEVAL  TYPES 
The  Contamination  of  Types 

I.  Causes  of  Contamination. 

(  1 )   Authorship  and  Transmission. 

(2)   The  Transition  from  Amateur  to  Professional  Story-tellers. 

I  3 )   The  Absence  of  Essential  Difference  between  Comic  and  Serious. 

II.  Examples  of  the  Contaminated  Form.s. 

(1)  Aucassin  and  Nicolette  (Miirchen-Lai-Fabliau). 

(2)  Tht   Gray  Palfrey  (Lai-Fabliau). 

(3)  The  Lai  of  Aristotle  (Fabliau-Lai). 

(4)  The  Tumbler  of  Our  Lady  (Conte  Devot-Fabliau). 

(5)  The  Smith  and  His  Dame  (Pabliau-Conte  Devot). 

(6)  The  Divided  Blanket  (Exemplum-Fabliau). 

III.  Masterpieces  of  Brief  Narrative,  the  Result  of  Contamination  of  Types. 

(For  Aucassin  and  Nicolette  see  Housman's  translation,  or  Mason's,  or 
the  German  version  of  Hertz  in  Das  Spielmannsbuch.  For  The  Gray 
Palfrey  see  Butler,  Tales  from  the  Old  French,  Mason,  Aucassin  and 
Nicolette,  p.  213,  or  Hertz  (Der  Bunte  Zelter).  For  The  Lai  of  Aristotle 
see  Hertz,  ]>.  '243.  For  The  Smith  and  His  Dame  see  Hazlitt,  Hi  mains  of 
llu  Early  Popular  Poetry  of  England,  III,  200.  For  The  Divided  Blanket 
see  Butler,  Tales  from  tin  Old  French,  or  Mason,  Aucassin  and  Nicolette, 
p.  75.) 


10  The  Short-Story 

XI.  CHAUCER 
1.  The  Frameavork  of  the  Canterbury  Tales 

I.  The   Development   of   the   Seven   Elements   of   Narration   by   the   Two 

Primitive  and  Four  Medieval  Types. 

II.  Chaucer. 

(1)  The  Historical  Sense  necessary  for  the  Appreciation  of  Chaucer. 

(2)  Chaucer  not  naif  and  unsophisticated,  but  a  man  of  the  world. 

(3)  His  general  relation  to  the  earlier  literary  types. 

III.  The  Framework  of  The  Canterbury  Tales  (i.e.,  the  General  Prologue, 

the  Special  Prologues,  and  the  Connecting  Links). 

(1)  A   kind   of   drama,   with   beginning,   middle,   and   end,    consisting 

mainly  of  incident  and  dialogue. 

(2)  It  reveals  Chaucer's  own  tendencies  and  interests. 

(3)  It  shows  mainly  fabliau  influence. 

(For  a  discussion  of  the  Framework  see  Hart,  The  Franklin  's  Tale  (in 
Haverford  Essays,  or  in  separate  reprints),  pp.  216  ff. 


11  Tin  Short-Story 

MI.  <IIAUCER 
2.  The  Comic  Tales 

I.  While   written   to   be   read.   Tlu    Canterbury   Tales   dramatizes   the   old 

method  of  oral  presentation,  and  develops  a  technique  derived  from 
oral  literature. 

II.  Admirable  Plot  and  Character-Contrasts  of  Chaucer's  typical  Fabliau. 

Tht   Miller's  Tale. 

III.  Tin    Friar's   Tale,  a  Fabliau  touched  with  Satire. 

IV.  The  Nun's  Priest's    Tale,  a  Fabliau  with  beast  actors,  modified  by 

Sermon  and  by  Exemplum. 

Y.    The    Pardoner's    Talc,    a    Sermou-Exemplum-Fabliau;    its    art    a    close 
approximation  to  that  of  the  modern  Sbort-Storv. 


12  77"  Short-Story 

XIII.  CHAUCER 
3.  The  Serious  Tales 

I.  The  Prioresses  Tale. 

A  Conte  Devot,  but  with  lyrical  or  personal  quality. 

II.  The  Wife  of  Bath's  Tale. 

A  Marchen-Exemplum.     It  begins  the  "Marriage  Act"  in  the  Drama 
of  the  Canterbury  Pilgrimage. 

III.  The  "Marriage  Act"  from  the  Wife's  Tale  to  the  Franklin's  Tale. 

IY.  Th<   Franklin's  Tale. 
Lai-Fabliau-Exemplum. 

(On  the  "Marriage  Act"  see  Kittredge  in  Modem  Philology,  vol.  IX. 
On  The  Franklin's  Tale  see  Eaverford  Essays,  as  above.) 


I 


L3  The  Short-Story 

XIV.  CHAUCER 

4.  Chaucer  and  the  Short-Story 

I.  The    contrast,    in    The    Canterbury    Tales,    between    Short-Stories    and 

Stories  Which  Happen  to  be  Short.  The  Knight 's  Tale  and  The 
Tale  of  the  Man  of  Law. 

II.  The  contrast  with  the  Anecdote:   The  Maunciple's  Tale. 

III.  Chaucer's  modification  of  the  Six  Types:   Fabliau,   Exemplum,  Lai, 

Marchen,  Conte  Devot,  Ballad. 

IV.  Chaucer's  modification   of  the  Seven   Elements:    Settings,   Character 

and  Methods  of  Characterization,  Mental  States,  Plot,  and  Moral. 

V.  The  "Evolution"  of  the  Medieval  Short-Story:   the  "Situation"   of 

the  Ballad,  from  which  the  Six  Types  develop  the  Seven  Elements. 
Decay  of  the  Short-Story  after  Chaucer  because  no  longer  under 
the  immediate  control  of  an  audience. 


14  The  Short-Story 


XV.  MEDIEVAL  TYPES  IN  MODERN  LITERATURE 

The  Persistence  of  Lai,  Conte  Deyot,  and  Fabliau  in  the 
Short-Stories  of  Kipling 

I.  Types  of  Early  Narrative. 

(1)  The  Celtic  Marchen  of  Connla  and  the  Fairy  Maiden. 

(2)  The  Lais  of  Lanval,  Guingamor,  and  Guigemar. 

(3)  The  Miracle  of  The  Knight  to  Whom  Our  Lady  Appeared  Whilst 

He  Prayed. 

(4)  Chaucer's  Prioresses  Tale. 

(5)  The  Fabliaux. 

II.  Kipling. 

(1)  Kipling  and  the  Fabliau. 

(2)  Kipling  and  the  Lai. 

Without  Benefit  of  Clergy  and  The  Brushwood  Bay. 

(3)  Kipling  and  the  Mary  Legend. 

"They":  Lai  traits,  Legend  traits,  Fabliau  traits.  Lyrical 
quality.  Significance  of  Conventional  Form.  Excellence  of 
Technique,  Suggestive  Method,  Richness  of  Concrete  Detail. 

(For  Connla  see  Jacobs,  Celtic  Fairy  Tales.  Kipling's  Fabliaux  are  to 
be  found  in  Plain  Tales  from  the  Hills  and  in  Under  the  Deodars.  For 
Without  Benefit  of  Clergy  see  Life's  Handicap;  for  The  Brushwood  Boy 
see  The  Day's  Work;  for  "They"  see  Traffics  and  Discoveries.) 


15  The  Short-Story 


PART  n 

THE  TRANSITION  FROM  THE  MEDIEVAL  TO  THE 
MODERN  SHORT-STORY 

XVI.  BOCCACCIO 

I.  The  General  Plan  of  The  Decameron. 

II.  The  Sources  of  the  Tales. 

III.  The  Condensed  Long  Stories. 

Patient  Griselda   (X,  10)  and  The  Pot  of  Basil   (IV,  5). 

I  V.  The  Anecdotes. 

The  Wit  of  the  Cool-  Chichibio  (VI,  4). 

V.  The  Short-Stories. 

Buggieri  in  the  Chest  (IV,  10). 

VI.  The  Vogue  of  The  Decameron. 

(Most  of  the  tales  discussed  in  this  and  in  the  following  lecture  are 
to  be  found  in  the  Tales  from  the  Decameron  in  Morley's  Universal  Library 
or  in  Cassell  'a  National  Library.)  i^*  _  w 


16  The  Short-Story 

XVII.  BOCCACCIO 

I.  Boccaccio  as  the  Originator  of  the  Modern  Short-Story. 

II.  The  Influence  of  the  Fabliaux  on  The  Decameron. 

The  story  of  Friar  Onion  and  Gabriel's  Wing  Feather  (VI,  10). 

III.  The  Influence  of  the  Exemplum  on  The  Decameron. 

The  story  of  Dianora  and  Ansaldo    (X,  5)    compared  with   Chaucer's 
Franklin's  Tale. 

IV.  The  great  influence  of  The  Decameron,  though  on  the  whole  favorable 

to   the   development   of   brief   narrative   in    artistic    prose,    is   not 
favorable  to  the  development  of  the  Short-Story. 


4     \<JUUa^l 


• 


17  The  Short-Story 


XVIII.  THE  LITERARY  FOLKTALE 

I.  The  Novella  after  Boccaccio. 

The  Heptameron   of   Queen    Margaret   of  Navarre    (1558).     Emphasis 
upon  Ideal  Love. 

II.  The  Literary  Folktale. 

(1)  Straparola,  Tredeci  Piacevoli  Notte  (1550-1554). 

(2)  Giovanni  Basile,  Pentamerone  (1672). 

(3)  Charles   Perrault,   Histoires   ei   Contes   du    Temp*  Passe,   or    Tales 

of  Mot li<  r  Goose  |  1676). 

(4)  After  Perrault. 

(a)    The  Fairy  Tale. 

(/>)    The   Oriental   Tale:    Galland's   Translation    of   the   Arabian 
Nights   (1704-1712). 

(5)  Musaus,  Deutsche  Volksmdrchen  (1782-1786). 

(a)  Melechsala.     (b)  Dumb  Love. 

(6)  Ludwig  Tieck,  Vie  Elfen  (1811). 

(7)  E.  T.  A.  Hoffmann,  Das  Majorat   (The  Entail). 

(Perrault'a  Tales  of  Mother  Goose:  French,  in  Andrew  Lang's  edition. 
See  especially  f.a  Belle  au  Bois  Dormante,  or  Sleeping  Beauty. —  English, 
in  Warner's  Library  of  the  World's  Best  Literature,  vol.  19,  Arabian 
Nights,  any  of  the  tales.  Musaus:  for  Melechsala  and  Stumme  Liebe 
(Dumb  Love)  see  Volksmdrchen  cfer  Dejutschen;  or,  for  an  English  trans- 
lation, Carl  vie 's  C<  i  man  EomanccTxal.  1.  Tieck:  for  Die  Elfen  (The 
Elves)  sec  his  Marclun.  or  Carlyle,  a>  al  ove.  Hoffmann:  for  Das  Majorat 
(Tlo  Entail),  see  his  Sammtliche  Werhe,  Bd.  Ill,  Nachtstiicke,  or  Scott, 
Essay  on  the  Supernatural  in  Fictitious  Composition,  in  Essays  on  Chivalry, 
Romance,  and  tht   Drama.  Chandos  ed.,  pp.  203  ff.) 


XIX.  AD]     • 

L  Ti.<    ; 

I 

n — "a  L  -  resemblance  to  * 
Jts  de  ry  elements — ] 

IL  Tr 

tion. 
_     History — Tt<  rertnny,  E 

*  as. 

:.isay. 

•;n  illustra- 

tio: 

remplum  in  the  Essay. 
Addison's  Tb< 

ral 
The  Independent  Moral  Tale — Theodoaius  and  Constantia. 

'.  losophie 
- 

al  Addisonian  tales  see 
;,ectator,  nos.  2,512,205 


1!)  Tht  Short-Story 


XX.  THE   NIGRAL  TALE   AFTER  ADDISOX 

I.  The  Transition  from  the  Essay  to  the  Novel. 

(1)  Addison;    Richardson's   Pamela   and   Clarissa   Marlowe;   Fielding's 

Tom  J  oik  8. 

(2)  Johnson's  Rambler,  Idler,  and  Basselas. 

(3)  Goldsmith's  Bee,  Citizen  of  the  World,  and  Vicar  of  Wakefield. 

U.  Marie  Edgeworth's   Prussian    Vase,  Murad  the  Unlucky,   The  Lottery, 
The  Limerick  Gloves,  and  Tin    Grateful  Negro. 

111.  Leigh  Hunt. 

(1)  Character  and  Work  in  General. 

(2)  Sources  and  Theory  of  Fiction. 

(3)  I  lis   Tal<    for  a  Chimney  Comer. 

(Dr.  Johnson's  Basselas;  Goldsmith's  Vicar  of  Wakefield;  Maria  Edge- 
worth:  for  The  Prussian  Vase,  Murad  the  Unlucky,  The  Lottery,  The 
Limerick  Gloves,  and  Tht  Faithful  Negro,  see  the  Moral  Tales,  Works,  vols. 
1  and  2.  For  Leigh  Hunt's  Tale  for  a  Chimney  Corner  see  The  Indicator 
for  15  December,  1819.) 


20  The  Short-Story 

XXI.   VOLTAIRE  AND  THE  PHILOSOPHIC  TALE 

•I.  Voltaire. 

Greatness;   Influence;  Life.     His  Tales:   their  relations  with  Oriental 
Material,  with  the  Periodical  Essay,  and  with  Medieval  Literature. 

II.  Zadig  (1748). 

III.  Candide  (1759). 

IV.  Jeannot  and  Colin  (1764). 

V.  L'Ingenu  (The  Huron)    (1767). 

VI.  The  Significance  of  the  Moral  Tale. 

(For  Zadig,  Jeannot  and  Colin,  and  L'Ingenu  (The  Huron),  see  Oeuvres, 
1819,  vol.  XXXIX,  or  1784,  vol.  44;  for  English  translations,  Works,  vols. 
2  and  3.) 


21  Tht  Short-Story 

PART  III 

THE  .MODERN  SHORT-STORY 

xxir.  raviNG 

1.  Literary  Relations 

I.  Biographical  Xote. 

II.  Irving  and  English  Literature. 

(1)  The  Augustan  Age. 

(The  nature  of  imitation.) 

(2)  The  Romantic  Movement. 

Romanticism  as  Spiritualism. 

(a)  Places  Emotion  above  Thought. 

(b)  Emphasizes  the  Individual. 

(c)  Develops  Sense  of  AVonder  and  Mystery. 

(d)  Finds  these  Qualities  in  the  Middle  Ages. 

III.  Imitations  of  the  Eighteenth  Century  Tale. 
The  Wife  and  The  Broken  Heart. 

IV.  Irving  and  the  Folktale. 

The  Spectre  Bridegroom  and  the  manner  of  Musaus;  Burger's  Lent 

(For  the  tales  discussed  see  Irving 's  Sketch  Book.) 


22  The  Short-Story 

XXIII.  IRVING 

II.  The  Composition  of  Rip  van  Winkle 

I.  The  Circumstances  of  Composition. 

II.  The  Real  Source  of  the  Story. 

The  Kyffhauser  Legend  of  Peter  Klaus,  the  Goatherd  of  Sittendorf,  in 
Otmar's  Yoll'ssagen  aus  dem  Earze  (1800). 

III.  Irving 's  Treatment  of  this  Story. 

IV.  Irving 's  Additions  to  this  Story. 
Character  and  Settings. 

V.  The  Plot  of  Eip  van  Winkle  essentially  a  Short-Story  Plot. 

VI.  Moral  Significance. 

VII.  Conclusion. 

(For  Eip  van  Winkle  see  The  Sketch  Book.    For  the  English  translation 
of  The  Goatherd  of  Sittendorf  see  T.  Roscoe,  German  Novelists,  vol.  II.) 


23  The  Short-Story 

XXTV.  NODIEE 

I.  Tin'   Significance   <>t'   Goethe's   Dit    Leiden    des  Jung  en    Werthers    (The 

Sorrows  of  Werther).     M774). 

II.  La   FUI,  uh    (hi  S,  1,1,1,  /'/■   |  1S06). 

IN.   La  Combe  a  I'll, nun, ,    Mart    {Bead  Man's  Valley)    (1841) 

A  typical  example  of  the  art  of  the  Short-Story.  {Dramatis  Personae: 
Toussaint  Oudard,  blacksmith;  Dame  Huberte,  his  mother;  Pan- 
crace  Chouquot,  a  learned  doctor;  Colas  Papelin,  clerk  and  groom; 
Odilon  the  Recluse;  Tiphaine,  Oudard 's  father;  A'illage  Girls  and 
Workmen.) 

I  V.   Various  Tales. 

(1)  Smarra   (1821),  and  the  Influence  of  Shakespeare. 

(2)  Trilby  (1822),  and  the  Influence  of  Scott. 

(3)  La  X<  iii-,iiii,   ,/,   In  Chandeleur  (1839),  and  The  Brushwood  Boy. 

(4)  The  Legend  <>/  Sister  Brat  rice  (1838),  a  Conte  Devot. 

(5)  Treasure  ,>f  Hi,    Beans  ami  Flower  of  the  Peas   (1832),  a  Marchen. 

V.  Nodier's  Theory  of  Ideal  Love. 

(For  La  Fill,  nl,  ,ln  Seigneur,  La  Combe  a  I'Homme  Mart,  and  Beatrix, 
see  Contes  de  la  Veillee;  for  La  Neuvaine  dt  la  Chandeleur  see  Oeuvres, 
vol.  27;  for  Tresor  des  Feves  see  Contes  Fantastiques.  Nodier  is  not  acres 
sible  in   English  translations.) 


24  The  Short-Story 


XXV.  MERIMEE 

I.  Merimee'e  Literary  Relations. 

(1)  Russian. 

(a)  Translations   from    Pushkin.      The   Bohemians    and   Carmen 
and  Arsene  Guillot.   La  Dame  de  Pique  (The  Queen  of  Spades). 

(b)  The  Essay  on  Gogol  and  Merimee's  Literary  Theory.     His 
Carmen  and  Colomba. 

(2)  English. 

Irving  and  Borrow;  Le  Hussard  and  Irving 's  Dragoon. 

(3)  Popular  Literature. 

rigo  and  St.  Peter  and  the  Minstrel,  and  Grimm's  Gambling 
Hansel. 

II.  Merimee's  Technique. 

(1)  Settings;  Exotism  and  Local  Color. 

Bohemian  Paris  in  Arsene  Guillot;  Southern  France  in  La  Venus 
d'llle,  etc. 

(2)  Social  Setting. 

(3)  Character. 

(4)  Plot. 

III.  Merimee  's  Tales. 

(1)  Novelettes:  Colomba  and  Carmen. 

(2)  Anecdotes:    Djoumane,   La   Chambre   Bleue,  II    Vicolo   de  Madame 

Lucre  ~ia. 

(3)  Short-Stories:  Mateo  Falcone,  The  Taking  of  the  Redoubt,  La  Venus 

d'llle.    •'(Compared    with    William    of    Malmesbury's    version, 
1147.) 

(For  Mateo  Falcone  and  L'Erilevement  </<  la  Iledoute  see  Mosa'ique ;  for 
La  Venus  d'llle  see  Colomba.  For  English  translations  of  all  three  see 
French  Novels  of  the  Nineteenth  Century,  vol.  III.) 


25  The  Short-Story 


XXVI.  BALZAC 

I.  Balzac  as  a  Novelist. 

II.  Balzac  as  a  Writer  of  Short-Stories. 
(1)   The  Conirs  Vrolatiques  (1830-1834). 

2     .in  Episodi   under  the  Terror  (1830). 
(3)  A  Passion  in  the  Desert  (1830). 

///,   Conscript   (Le  Riquisitionnaire)   (1831). 

(5)  La  Grande  BreUche  (1832). 

(6)  A  Seashore  Drama  (1835). 

III.  Balzac's  Short-Story  Technique. 
The  Seven  elements. 

(For  La  ('-ramie  Bretiche  sec  Oeuvres,  vol.  IV,  pp.  ."562  ff ;  for  l'n  Episode 
sous  la  Terreur  and  Unt  Passion  dans  la  Desert  see  Oeuvres,  vol.  XII;  for 
/  Drawn  au  Bord  de  la  Mer  and  Le  Eeeiuisitionnaire  see  Oeuvres,  vol. 
XVI.  English:  for  La  Grandt  fireteehe  see  Fame  and  Sorrow;  for  the 
other  stories  see  Shorter  Stories  from  Balzac,  and  Warner.  Library  of  the 
World's  Best  Literature,  vol.  III.) 


26  The  Short-Stonj 

XXVII.  HAWTHOENE 

I.  General  Literary  Relationships. 

The  Snow  Image  and  Tieck's  The  Elves. 

II.  Wakefield  and  Hawthorne's   Method   of   Composition;   his  interest  in 

Character,  Motives,  and  Moral  Significance. 

III.  The  White  Old  Maid,  a  "Suggested"  Short-Story. 

IV.  The  Ambitious   Guest,   a    consistent   elaboration,   or   "incarnation    of 

the  idea." 

V.  The  Question  of  Local  Color. 

(In  Twice  Told  Tales:  The  Minister's  Black  Veil,  Wakefield,  The  Vision 
of  the  Fountain,  The  Ambitious  Guest,  The  White  Old  Maid.  In  Mosses 
from  an  Old  Manse:  Feathertop.  In  The  Snow  Image,  etc.:  The  Snow  Image, 
The  Great  Stone  Face,  The  Wives  of  the  Dead.) 


27  The  Short-Story 

XXVIII.  POE 

I.  Poe's  Account  of  his  Theory  and  of  his  Method  of  Composition — The 

Essay  on  The  Philosophy  of  Composition. 

II.  Theory  and  Practice  in  The  Fall  of  the  House  of  Usher. 

(Bomances  of  Death:  The  Fall  of  the  House  of  Usher,  Berenice,  Ligeia. 
Old  World  Romance:  The  Assignation,  The  Cash  of  Amontillado,  The  Pit 
and  the  Pendulum.     Tales  of  Conscience:  William  Wilson,  The  Black  Cat.) 


28  The  Short-Story 


XXIX.  POE  AND  THE  DETECTIVE  STOBY 

T.  The  Main  Stejjs  in  the  Development  of  the  Detective  Story. 

(1)  The  Oriental  Tale  of  The  Lost  Camel. 

(2)  Incidents  in  Voltaire's  Zadig. 

(3)  Zadig  and  Poe 's  Dupin   (in  The  Murders  in  the  Sue  Morgue). 

(4)  Balzac's  Splendeurs  et  Miseres  des  Court esanes  and  TJne  Tenebreuse 

Affaire. 

II.  Poe's  Detective  Stories  or  Tales  of  Ratiocination. 

(1)  The  Gold-Bug. 

(2)  The  Murders  in  the  Sue  Morgue. 

(3)  The  Mystery  of  Marie  Eoget. 

(4)  The  Purloined  Letter. 

III.  Conan  Doyle  and  Poe:  The  Speckled  Band. 

(Poe's  Detective  Stories  are  all  to  be  found  in  the  "Tales  of  Eatio- 
cination"  (Works,  vol.  III).  For  Doyle's  The  Speckled  Band  see  Dawson, 
The  Great  English  Short-Story  Writers,  vol.  II). 


29  The  Short-Story 

XXX.  BEET  HARTE 

I.  His  Life. 

II.  His  Theory  of  the  Short-Story. 

The  Else  of  the  American  Short-Story,  Cornhill  Magazine,  July,  1899. 

III.  His  Humor. 
Chesterton  'a  View. 

IV.  The  Luck  of  Roaring  Camp  and  Other  Stories  (1869). 

(1)  Brown  of  Calaveras. 

(2)  The  Outcasts  of  Poker  Flat. 

(3)  Higgles. 

V.  Literary  Ancestors. 

(1)  Dickens. 

(2)  Irving. 

(Harte's  Style.) 

(3)  The  American  "Good  Story." 

VL  Descendants. 
Kipling. 

(The  tales  discussed  are  all  to  be  found  in  The  Luck  of  Soaring  Camp, 
Works,  vol.  I.) 


30  The  Short-Story 


XXXI.  DAUDET 

I.  Daudet's  Country,  Provence.     The  General  Character  of  His  Work. 

II.  His  Fabliaux. 

(1)  Les  Trois  Messes  Basses  (The  Three  Low  Masses). 

(2)  L  'Elixir  du  Prre  Gaucher. 

(3)  La  Mule  du  Pape. 

(4)  Le  Cure  de  Cucugnan. 

III.  His  Exempla. 

(1)  L 'Homme  a  la  Cervelle  d'Or  (The  Man  with  the  Golden  Brain). 

(2)  La  Cherre  de  M.  Seguin  (M.  Seguin's  Goat). 

IV.  His  Short-Stories. 

(1)  Short-Stories  of  Situation. 

(a)  Les  Deux  Auberges  (The  Two  Inns). 

(b)  La  Diligence  de  Beaucaire. 

(2)  Short-Stories  of  Event, 

L'Arlesienne. 

(3)  The  Idyl. 

Les  Etoiles  (The  Stars). 

(Lettrcs  de  Mon  Moulin:  La  Diligence  de  Beaucaire,  La  Chevre  de  M. 
Seguin,  Les  Etoiles,  L'Arlesienne,  Le  Cure  de  Cucugnan,  Le  Sous-Prefet  aux 
Champs,  Les  Deux  Auberges.  English:  Letters  from  My  Mill:  The  Beaucaire 
Diligence,  The  Goat  of  M.  Seguin,  The  Stars,  The  Arlesienne,  The  Cure 
of  Cucugnan,  The  Sub-Prefect  in  the  Fields,  The  Two  Inns.  Contes  du 
Lundi:  La  Dernicre  Classe,  Le  Siege  de  Berlin.) 


31  The  Short-Story 


.XXXII.  STEVENSON 

I.  Stevenson. 

II.  Literary  Apprenticeship. 

J II.   Theory  of  Romance. 

IV.  Illustration  of  this  Theory — 

Tin   sin   de  Maletroit's  Door  (1877). 

Compared  with  Th.  de  Banville's  Gringoire  (1866). 

V.  Moral  Purpose. 
Markheim  (1885). 

Will  »    tht  Mill  (1885). 

(In  Tin  Merry  Men:  Will  o'  the  Mill,  Markheim.  In  New  Arabian 
Nights:  A  Lodging  for  the  Night,  The  Sire  de  Mulct  roil  's  Door.  Tin 
Suicidi    Club.     Island  Nights'  Entertainments:   The  Isle  of  Voices.) 


32  The  SKort-8tory 


WWII  I.  MAUPASSANT 

I.  II  is   •  •  Animalism. 

r 

(1)  Studios  of  Love      Moonliiiltt,  lfappine.su. 

(2)  Studies  of  Savage  Revenge-    La  Mere  Sam-age,  Vendetta. 

(3)  Studies  of  Terror,   Eunger,  Cruelty — The  Beggar  (Mao  as  Under- 

Dog). 

(4)  Of  Predacity  and  Ferocity     The  Wolf  (Man  as  Triumphant  Wild 

I '.cast  ). 

(5)  Of  Fear  and  Vanity — A  Coward. 

II.  Mis  Technique. 

(1)  Brevity. 

(2)  Concrete  Narration   (in  dialogue  and  incident)  of  Settings,  Char- 

acter, Emotions,  riot  and  Moral.     Illustrated  by  A  Coward. 

TIT.  The  Causes  of  Ins  " Animalism ' ■"  and  his  Technique. 

(1)  The  Tradition  of  the  Brief  Tale  in  French  Literature. 

(2)  Maupassant's  Life. 

(3)  His  Special  Training  by  Flaubert. 

(The  tales   discussed   may   be   found,   in    English   translations,   in    The 
o<hl  Number.) 


33  The  Short-Story 

XXXIV.  KIPLING 
1.  Tales  of  the  Indian  Period:  Settings  and  Character  Types 

I.  Biographical  Notes. 

II.  The  Settings. 

Phases  of  Anglo-Indian  Life:  At  the  End  of  the  Passage  and  The  Con- 
version of  Aurelian  McGoggin. 

III.  Anglo-Indian  Character-Types. 

(1)  The  Subaltern   (Thrown  Away,  Only  a  Subaltern). 

(2)  The  Society  Woman  {Three  and — an  Extra,  The  Bescue  of  Plu1fl.es). 

(3)  The  Private  Soldier  (Mulvaney's  self-portrait  in  The  Courting  of 

Dinah  Shadd). 

(4)  The  Child  (Baa  Baa  Blade  Sheep,  Wee  Willie  Winlcie,  etc.) 

(For  At  the  End  of  the  Passage  and  The  Courting  of  Dinah  Shadd  see 
Life's  Handicap.  For  The  Conversion  of  Aurelian  McGoggin,  Thrown 
Away,  Only  a  Subaltern,  Three  and — an  Extra,  and  The  Bescue  of  Pluffles 
see  Plain  Talis  from  the  Hills.  For  the  Child  Stories  see  Wee  Willie 
Hinlie.) 


34  The  Short-Story 

XXXV.  KIPLING 

II.  Tales  op  the  Indian  Period:   Emotions  and  Motives 

I.  The  Native  Point  of  View. 

Lispeth,  Dray  Wara  Yow  Dee. 

II.  Studies  in  Fear. 

The  Drums  of  the  Fore  and  Aft.  • 

III.  Fear  of  the  Supernatural. 

The  Phantom    'Rickshaw,  The  Return  of  Imray,  The  Marl;  of  the  Beast 
(compared  with  S.  Carleton's  The  Lame  Priest.) 

IV.  Love  Stories. 

(1)  Their  cynicism:    Wressley  of  the  Foreign   Office,  In  Error. 

(2)  Englishmen  and  Native  Women:  Beyond  the  Pale. 

V.  Studies  in  Pathological  Psychology. 

(1)  Nostalgia:  The  Madness  of  Private  Orthcris. 

(2)  Hysteria:  In  the  Matter  of  a  Private. 

(3)  Aphasia:  The  Conversion  of  Aurelian  McGoggin. 

(4)  Loss  of  Memory:  Tht  Man   Wlio  Was. 

(5)  Hallucination:   At  the  End  of  the  Passage   (compared  with   Mau- 

passant's Le  Eorla). 

(For  Lispeth,  Wressley,  In  Error,  Beyond  the  Pale,  The  Madness  of 
Private  Orthetis,  and  The  Conversion  see  Plain  Tales.  For  Dray  Wara  Yow 
Dee  see  In  Black  and  White.  For  The  Drums  of  the  Fore  and  Aft  see 
Wet  Willit  Winkie.  For  The  Strange  Ride  of  Marrowbie  Jtilces  see  The 
Phantom  'Rickshaw.  For  In  the  Matter  of  a  Private  see  Soldiers  Three. 
For  The  Return  of  Imray,  The  Marl;  of  the  Beast,  The  Man  Who  Was,  and 
At  the  End  of  the  Passage  see  Life's  Handicap.  For  the  Lame  Priest  see 
The  Atlantic  Monthly,  vol.  88.) 


35  The  Short-Story 

XXXYI.  KIPLING 
III.  Tales  of  the  Indian  Period:  Structure  and  Moral  Significance 

I.  External  Structure. 

(1)  The  Use  of  the  First  Person. 

(2)  The  Frame-Situations  of  the  Soldier  Stories. 

(a)  Kipling  and  Chaucer:   The  Three  Musketeers,  etc. 

(b)  Analysis  of  The  Incarnation  of  Krishna  Mulvaney. 

(3)  Dramatic  and  Impersonal  Methods. 

The  Story  of  the  Gadsbys,  The  Hill  of  Illusion. 

(4)  Eecurrent  Characters. 

II.  Internal   Structure. 

(1)  Anecdotes:   The  "Lang  Men   o'  Larut,  Little  Tobrah. 

(2)  Condensed  Long  Stories:  Lispeth. 

(3)  Short-Stories:   Without  Benefit  of  Clergy. 

(4)  Beginnings,  Middles,  and  Ends. 

The  "  Suggested  "   Short-Story;    Dialogue. 

III.  Moral  Significance. 

The  Respectable  vs.  the  Xon-Respectable. 

(For  the  Soldier  Stories  see  the  collection  called  Soldiers  Three.  For 
The  Three  Musketeers  and  Lispeth  see  Plain  Tales.  For  The  Incarnation  of 
Krishna  Mulvaney,  The  Lang  Men  o'  Larut,  Little  Tobrah,  and  Without 
Benefit  of  Clergy  see  Life's  Handicap.  For  The  Hill  of  Illusion  see  Under 
the  Deodars.) 


V 


\ 


\ 
36  Th<  Short-Story 

XXXVII.  KIPLING 
IV.  The  Tales  op  the  Period  of  Transition* 

I.  Tendencies  of  the  Indian  Period. 

Increase   in    Imagination    and   in    Sense    of   Form;    Decrease   in    Self- 
Assertion;   Escape  from  the  Overpowering  Sense  of  Fact. 

II.  The  Transition. 

(1)  Many  Inventions. 

(a)  Stories  which  look  backward. 

(b)  Stories  which  look  in  both  directions. 

(c)  Stories  which  look  forward. 

In  the  Euhh,  the  first  of  the  Jungle  Stories. 

(2)  The  Jungle  Boohs. 

(a)  The  History  of  Mowgli. 

(b)  The  King's  Arikus. 

(Compared  with  Chaucer's  Pardoner's  Tale.) 

(c)  The  Non-Mowgli  Stories. 

III.  Tendencies  of  the  Transition  Period. 

Continued  Increase  in  Imagination  and  in  Sense  of  Form;   Decrease 
in  Intensity  and  in  Realism. 


37  The  Short-Story 


XXXVIII.  KIPLING 

V.  The  Tales  op  the  English  Period:  Settings,  Characters,  and 

Motives 

I.  Settings. 

(1)  The  Discovery  of  England. 

Beauty  and  Emotional  Associations;   "Historicity." 

(2)  Extensions  of  the  Social  Group. 

II.  Characters. 

In  Puck  of  Pool's  Rill  and  Rewards  and  Fairies.  Marklake  Witches 
(the  technique  of  suggestion).  Sentimentalism  and  the  contrast 
with  Irving  and  Xodier. 

III.  Motives. 

Culmination  of  the  Love  Stories  in  The  Brushwood  Boy.  (Comparison 
with  Bapunzel  in  Grimm  and  in  Morris,  with  Du  Maurier 's  Peter 
Ibbetson  and  with  Xodier 's  Neuvaine  de  la    Chandelear. 

(For  Weland's  Sword  and  The  Joyous  Venture  see  Puck  of  Poole's  Kill. 
For  Marklake  Witches  and  The  Conversion  of  St.  Wilfrid  see  Bernards  and 
Fairies.  For  The  Brushwood  Boy  and  Bread  Upon  the  Waters  see  The 
Day's  Work,  For  Bapunzel  see  Grimm,  Household  Tales  no.  12,  and 
William  Morris,  The  Defence  of  Guinevere,  Works,  vol.  I.) 


38  The  Short-Story 


XXXIX.  KIPLING 

VI.  The  Tales  op  the  English  Period:   Structure  and  Moral 
Significance 

I.  External  Structure. 

(1)  The  Personal  Note. 

(a)  In  "They"    (Cf.  no.  XV,  above). 

(b)  In  the  Jxist  So  Stories. 

The  Manner  of  the  Oral  Tale.     The  "Pourquoi." 

(2)  Framed  Tales. 

Puck  of  Poole's  Hill  and  Rewards  and  Fairies. 
Comparison  with  The  Canterbury  Tales.  ' 

(3)  Types  of  Didactic  Story. 

Fable,  Dream,  "Alien  Critic,"  Exemplum — Conte  Devot. 

II.  Internal  Structure. 

III.  Moral  Significance. 

IV.  General  Conclusions. 

The  Tendencies  of  the  Two  Earlier  Periods  Still  Active  in  the  Third'. 


39  The  Short-Story 

XL.  SUMMARY    AND   CONCLUSION 

I.  The  Modern  Short-Story,  Boccaccio  to  Kipling. 

II.  Comparison  of  the  Modern  with  the  Medieval  Short-Story. 

(1)  In  the  Medieval  the  Developing  Factors  are  the  Literary  Types, 

in  the  Modern,  the  Individual  Authors. 

(2)  In  the  Medieval  the  Literary  Types  retain  their  Individuality;  in 

the  Modern  they  lose  it. 

III.  The  Primitive  and  Medieval  Types  persist  in  Modern  Literature. 

IV.  The  Steady  Development  of  the  Seven  Elements  of  Narration. 

V.  Suggestive  Comparisons  and  Contrasts. 

VI.  The  Dependence  of  Authors  upon  Their  Predecessors. 

VII.  Increase    in    Sympathetic    Understanding    the    Justification    of    the 

Studj'  of  the  Development  of  a  Literary  Type. 


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